Towards the end of the exhibition are astonishingly stark, minimal, geometrical abstractions that continued to push the boundaries of nonrepresentational art.
|
|
"I've always loved nonrepresentational art," says Fritz.Quick, Bob. "Business Beat." The New Mexican.
|
|
However, the scientist who invented one of the modern pigments dismissed the possibility that Pollock used this paint as being "unlikely to the point of fantasy." Subsequently, over 10 scientific groups have performed fractal analysis on over 50 of Pollock's works.J.R. Mureika, C.C. Dyer, G.C. Cupchik, "Multifractal Structure in Nonrepresentational Art", Physical Review E, vol. 72, 046101-1-15 (2005).
|
|
His leaning toward nonrepresentational art had begun as early as 1929 in Paris, where he was a member of the Abstraction- Création group. Glarner took up Mondrian's motif of arranging simplified colors and forms on an architectural pattern. Glarner introduced a diagonal into the strict horizontal and vertical geometric aesthetic of Mondrian, creating new, yet equally systematic principles of composition that he termed "relational painting." Like Mondrian, Glarner limited his color palette to the primaries, red, yellow and blue.
|
|
The Dehumanization of Art and Other Essays on Art, Culture, and Literature is the first English translation of philosopher José Ortega y Gasset's La deshumanización del Arte e Ideas sobre la novela, published in 1925. This composition includes three more essays in addition to Ortega's original work. The essays seek to understand and explain the relatively new movement of nonrepresentational art and defend these pioneering artists attempting to escape from the embraced realism and romanticism movements. The dehumanization of art refers to the removal of human elements from these works, eliminating the content, but keeping the form.
|
|
The primary output of the art-research group was the Index of American Design, a mammoth and comprehensive study of American material culture. As many as 10,000 artists were commissioned to produce work for the WPA Federal Art Project, the largest of the New Deal art projects. Three comparable but distinctly separate New Deal art projects were administered by the United States Department of the Treasury: the Public Works of Art Project (1933–34), the Section of Painting and Sculpture (1934–43), and the Treasury Relief Art Project (1935–38). The WPA program made no distinction between representational and nonrepresentational art.
|
|
Falling fluid has the capability of changing from a non-chaotic to a chaotic flow, meaning that Pollock could have introduced a chaotic flow of paint as he dripped it onto the canvas. Although the fractal characteristics of human balance and falling liquid are generated on Pollock's painting time and length scales, physicist Predrag Cvitanovic notes that it would be quite an artistic challenge to control them: such parameters "are in no sense observable and measurable on the length-scales and time-scales dominated by chaotic dynamics". Since Taylor's initial Pollock analysis in 1999, more than ten research groups have used various forms of fractal analysis to successfully quantify Pollock's work.J.R. Mureika, C.C. Dyer, G.C. Cupchik, “Multifractal Structure in Nonrepresentational Art”, Physical Review E, vol.
|
|